In the United Kingdom during the 1960's, Midland Beat was a genre of its own. The central area of England is logically referred to as the Midlands and it seemed to have more than its fair share of musical aptitude. Many, like Black Sabbath and Led Zeppelin, were born and bred there while others, like Cream, spent a lot of time learning their craft there.

This area would spawn one of the UK's biggest exports of the 70's, certainly in Europe. There is no doubt that the members of Slade grew up listening to the music of artists such as Buddy Holly, The Everly Brothers, Cliff Richard and The Shadows right through to the biggest icons of the 1960's. The Beatles influence would be prevalent throughout the group's career.

Welcome!

The most authentic and accurate history of the rock group, Slade, on the web. In the world. even. This site is dedicated to the best facts research can find. Jump to the first page here.
Then, click on the "next page" links to read the story in chronological order.

There are Pop bands, there are Rock bands and then there are musical institutions. All three of these descriptions apply to this four man, hit making machine from the West Midlands. With a string of misspelt chart toppers, an outlandish wardrobe and a killer, live act that was second to none. Slade's achievements during the 1970's were little short of phenomenal: their crunching rock 'n' roll and crazee antics would inspire acts such as Kiss, Kurt Cobain, Oasis, Twisted Sister, Alice Cooper, The Ramones, The Sex Pistols, The Darkness and even comedians Vic Reeves and Bob Mortimer, to pick up guitars. And what's more, the stunning re-birth from a career slump during the following decade revealed an enviable stubborn streak and tenacity worthy of only the rare few.

Slade were a top notch group that were dragged into the black hole of Glam Rock, a short lived fad that deflected from who they really were, one of the world's greatest Rock bands. Loud, gregarious and, above all, entertaining with an affable, rabble-rousing demagogue up front.

"Slade were down to earth and honest, and it's a real shame there's not more bands around like them, as you won't find this kind of honesty in the record business these days; mores the pity."Dennis Munday: Ex Polydor Marketing October 2012

Here, we tell the story of one of the UK's most underrated groups. This is the story of Slade, told in a genealogical manner with the factual evidence to back it up where possible. The main source information comes from:

'Feel The Noize' by Chris Charlesworth

'Genesis Of Slade' sleevenotes by John Howells

'Who's Crazee Now?' by Noddy Holder

( Paperback Version. )

( Hardback Version. )

Most of the 'new' info comes from the Wolverhampton (and surrounding areas) newspaper archives scoured by Chris Selby, without whom, this site would not be possible. Please bear in mind that local newspapers, like all newspapers, use artistic licence when reporting. For the purposes of this project, we are interested, first and foremost, in the date. The posts run chronologically, the early years are listed under 1971 because that's the earliest date Blogger can handle.

THE STORY STARTS HERE.(To follow the story chronologically, click on the "next page" links!)

Intro paragraph by Dave Ling. If any links do not work please let me know in the comments section.

This is Jim’s first major studio release of any note since 2007’s Therapy album. That album was reissued with a collection of bonus tracks, not much of which sounded anything like his old band. That will have pleased some and baffled others.

This EP came about as Jim was asked to put a collection of tracks for release.

LOST IN SPACE
This version of the lead track on the EP features a much more involved arrangement than on the radio edit promo single and download. It’s commercial enough to do well, if it gets the radio plays. Lyrically Jim is having a bit of fun and it’s a bit of a word game, relying on rhyming words rather than any theme - as are most of his songs - rather than having any great message. He’s quite fond of this track, as it is more of a pop song than the other tracks on the EP. Jim pays all instruments and the strings throughout flesh out the backing beautifully.

Jim said: “Lost in Space was written deliberately as a pop song. Of all the songs I have come up with, this is one of my favourites. The ideas portrayed in the song are of someone spending their life living in an inner world, virtually oblivious to normal life. Some might say I have unwittingly written about myself!”

WHAT IN THE WORLD
This song could easily have been a latter period Slade single, album track or at worst, a b-side. It has elements of songs like I’ll be there and Run runaway. However it is lyrically superior to an amount of Holder’s later lyrics. It refers to the big party at the Millenium, so you have to wonder when this song actually dates from. All of the tracks on this EP after the title track sound like they were recorded during the same session. Jim plays everything and it certainly sounds like Slade to an extent. But of course musically, Slade was always Jim’s baby, so it should be no surprise. The clue to this song’s origins may come from hearing the next track.

MEGADRIVE
This song appeared on the WHILD EP from 1999. That EP did not sell particularly well, so the inclusion of such a good song here is quite forgivable. It appears to be the exact same recording and mix. Would Slade have gone in this direction, had they stayed together? It’s a driving, rocky, little song, harking back to the feel of Radio Wall Of Sound, with a great acapella section at the end. Jim's singing style on this is a sort of tired croaky drawl in places, which suits a number of these songs.

PURE POWER
Jim Lea goes heavy. This has a fantastic groove and while it’s basically a twelve-bar blues, it has a great unison riff that sounds fresh and new. Lyrically, Jim has some fun again. A great chorus. I would personally have picked this as the lead track on the EP. The key change solo section is reminiscent of Slade and ZZ Top. Quality stuff.

GOING BACK TO BIRMINGHAM
This song was played at the 2002 Jim Jam gig (which again helps us to date the song) and appeared on the Live at the Robin CD. It has a great groove, similar in a way to ‘Fire’ by Jimi Hendrix, a track that Jim must have grown up with. Cracking stuff.

THROUGH THE FIRE
The Hendrix influence is still there. A great melodic rocker. Good lyrics and the ad libs under the guitar solo are pure Hendrix (remember "Move over Rover, let Jimi take over"). If the guitar solo was not up to it, this could have come off badly by comparison, but Jim throws in a great solo.

All of the tracks on this sound like they are played by a band, rather than one man, alone in the studio, which is quite an achievement. Jim's vocal style is far more assured and confident than one may have expected. The playing is concise and disciplined and the songs are all fully-formed. Creditably, for a one-man band, he certainly manages to generate a great live-in-the-studio feel. I suspect that the drums on all of these tracks were put together on a Linn drum or a similar sequenced machine, as no drummer is credited.

This release came about when Jim was asked to submit six songs for an EP. He should maybe have been asked to put forward a dozen and have called it an album.

PENNY VALENTINE - (1943-2003) R.I.P.

Those of you who are old enough to remember reading the Disc & Music Echo in the seventies will be no stranger to the name of arguably the UK's finest female music journalist, who sadly passed away in 2003.

Many of the Single Edits, which were freely available to D.J.'s in the USA have never been released on CD format, as most of them came as Mono / Stereo versions of the A-Side. These Mono mixes need to see the light of day!

August, 1971

December, 1971

March, 1972

May, 1972

November, 1972

February, 1973

The USA 7" Promo. Single of "Gudbuy T' Jane" was the Stereo Mix on both sides!

May, 1973

July, 1973

September, 1973

February, 1974

May, 1974

September, 1975

April, 1976

These last three USA 7" Promo. Singles were also Stereo Mixes on both sides:-March, 1984

June, 1984

April, 1985

My thanks to Chris 'The Historian' Selby for his relentless research. It is said, in certain circles, that Walsall Archives have a seat reserved specifically for him and that Wolverhampton archives consult him when searching the Express & Star.

Cum On Feel The NoizeLook Wot You DunGudbuy T' JaneOne Way HotelSkweeze Me, Pleeze MePouk HillThe Shape Of Things To ComeTake Me Bak 'OmeCoz I Luv YouWild Winds Are Blowin'Know Who You AreGet Down And Get With ItLook At Last NiteMama Weer All Crazee Now
1972, Germany - Vinyl, LP, Compilation, Club Edition
Polydor - 28 689-8The Best Of Slade

A1. Gudbuy T' JaneA2. RavenA3. Let The Good Times RollA4. Wild Winds Are BlowingA5. I Don't MindA6. I RememberB1. Look Wot You DunB2. Pouk HillB3. Gudbuy GudbuyB4. AngelinaB5. Look At Last NiteB6. Miles Out To SeaC1. Mama Weer All Crazee NowC2. Know Who You AreC3. Dirty JokerC4. Move OverC5. Coz I Luv YouC6. I Won't Let It Happen AgainD1. Get Down And Get With ItD2. Skweeze Me Pleeze MeD3. One Way HotelD4. Just Want A Little BitD5. Could ID6. Darling Be Home Soon

1980, - AUSTRALIAN IMPORT, 10 Tracks
POLYDOR - 2475 675Rock Legends

A1. Coz I Luv YouA2. Look Wot You DunA3. Get Down And Get With ItA4. Darling Be Home SoonA5. Gudbuy T' JaneB1. Take Me Bak 'omeB2. Mama Weer All Crazee NowB3. Just Want A Little BitB4. Hear Me CallingB5. Know Who You Are

Welcome

There is nothing new on this blog, everything here has been previously available elsewhere, in one format or another. My aim here is to try to ensure that the information is available to all Slade fans everywhere.

My thanks to Chris Selby (without whom I would know nothing)and anybody else that has supplied anything personal to this or any other media collection. I must apologise to Chris Charlesworth for taking liberty's with his book. Anybody who is interested in the group's history should invest in a copy of 'Feel The Noize', generally considered to be The Slade Bible by most fans. And last but by no means least,Keith Farley ('N Between Times) and John R. Woodhouse (Brum Beat) who have provided much background information by way of their on-line research, These should be studied by anybody with any interest in the 60's Midland Beat era. More general 60's info can be found at Marmalade Skies, a source of invaluable pop essentials.

Any offer of missing artwork would be gratefully received. My main concern is to get 'readable text' for the trainspotters.

Contributors

Official Media

All of Slade's official releases have been remastered and released on CD with good quality packaging and comprehensive sleeve notes by Salvo for Union Square. I would recommend the purchase of this collection to anybody who is interested in the group. This blog will not be making any official music available for download.

Images are for review or research purposes only. All images, audio, video, text, etc. is copyright. Apart from fair dealing for the purposes of private study, research, criticism or review as permitted under the Copyright Act 1968, no part may be reproduced, copied, transmitted in any form without the prior written permission of the copyright holder.

The Historian

I would like to take this opportunity to thank Chris Selby for his input. This site owes much, if not all, to his relentless research and charitable nature. Keep up the good work mate.

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No part of this work should be reproduced or used without the express permission of the author or his associates. Failure to comply may result in legal action. This blog copyright of Michael Parker and associated sources.